Ràdio Web MACBA

[1] RWM is a tool that serves to document the continuous present of the Museum, including interviews with many of the prominent figures that pass through the Centre, who have so far included Michel Feher, Mark Fisher, Franco Berardi, Ann Demeester, Judith Butler, Rick Prelinger, Suely Rolnik, Philippe Méaille, Michael Baldwin, Mel Ramsden, Allan Sekula, Seth Siegelaub, Kenneth Goldsmith, Ramon Amaro, Naeem Mohaiemen Fareed Armaly, Stuart Bailey, Will Holder, Xavier LeRoy, Edwin van der Heide, Isaac Julien, Antoni Muntadas, Peter Zinovieff, Bernard Stiegler, Griselda Pollock, Martha Rosler, Laura Mulvey, Silvia Federici, Oyeronke Oyewumi, Irit Rogoff, Yvonne Rainer, La Ribot, Isaac Julien, Lizzie Borden, Luke Fowler, Charles Bernstein, Kenneth Goldsmith, James Pritchett, Anri Sala, Eyal Weizman, Terike Haapoja, Martha Rosler, Natascha Sadr Haghighian, Élisabeth Lebovici, Vicki Bennett, Griselda Pollock, Cornelia Sollfrank, Chandra Wickramasinghe, John Oswald or Guy Schraenen among others.

[1] RWM has also launched its own lines of research that flow from some of the ideas explored in the Museum, such as reflexions on radio as a medium in itself (an analysis of John Cage and the different ways he used radio, for example), the recovery of unpublished material by artists whose works are in the Museum's collection (such as Juan Muñoz's works for radio) and documentation of artistic movements with some link to music, such as RWM has also developed its own parallel lines of programming that investigate fields such as generative music, sound collecting, sound art and sound appropriationism.

[2] RWM began in 2006 as a tool through which to publicise the Museum's activities, but over the years it has grown into independent project, with over 800 podcasts under its belt.

This includes everything from generating documentary material to programming activities and preparing monographic programmes on music scenes of all kinds, such as generative music, the history of sampling, the collapse of tonality,[3] sound production in Eastern Europe and the sound avant-garde in Spain and Portugal, amongst many other.

[13] The project has also been presented in international conferences such as MuseumNext 2012,[14] FIEC II [15] and 'V Encuentro sobre Redes en Museos y Centros de Arte 2015.